审阅范围 · Review scope
限定范围独立审阅。请保留正文中的出处与限制；不代表全库最终验收、实际演奏或学习效果验证。
Independent review within the stated scope. Keep the evidence and limitations stated in the text in view. This is not final corpus acceptance or validation of performance or learning outcomes.
本页保留作者送审冻结字节，因此正文或数据可能仍有“候选／等待审阅／未发布”标记。当前版本已通过限定独立复核并发布；旧标记只记录冻结时状态。通过范围是双语含义、限定来源文字／静帧及原创固定例题检查，不含原声听校、连续动作、完整源谱、实际演奏、身体适用性或学习效果验证。
This page preserves the author’s frozen review bytes, so prose or data may still contain candidate, pending-review or unpublished labels. This version has passed bounded independent review and repository publication; those labels record author-time status only. Acceptance covers bilingual meaning, bounded source text/stills and original fixed-fixture checks, not source audition, continuous motion, full source scores, actual performance, physical suitability or learning outcomes.
遇见F#：先找临时目标，再判断调性
先提出一个可检查的问题
在一段以C大调为背景的材料中看见F#，不必立刻把全曲改判成G大调。本课先问：这个音属于什么完整和弦，接下来指向哪个和弦？原创四小节C—D7—G—C给出一个可以逐音检查的答案。
前置知识是字母音名、升号、八度和三和弦；可先看文末的音程与和声链接。全课可用纸笔完成。C4是中央C，音名后的数字表示八度，不是指法；#把该字母音升高半音。
先遮住和弦答案表，读原创音符表的第2、3小节，写下：第2小节四个音去掉八度后是什么？哪个音不是C大调自然音？它与第3小节的哪个音相差半音？允许写“不确定”，再揭示答案。
本例的C大调背景是明确给定的教学条件，不是我们从录音证明的调性。表格是带答案的引导材料；阅读后答对不等于陌生视谱、成功内听或实际演奏证据。
原创四小节与两条半音线
| 声部 / Voice | 1: [0,4) | 2: [4,8) | 3: [8,12) | 4: [12,16) |
|---|---|---|---|---|
| V1 | C3 | D3 | G2 | C3 |
| V2 | E4 | C4 | B3 | C4 |
| V3 | G4 | F#4 | G4 | E4 |
| V4 | C5 | A4 | D5 | G4 |
拍号固定4/4，以四分音符为时间单位q，每小节4q。每个声部在每小节开始弹一个全音符，占4q；四个声部同时进行。声部V1到V4按本例每一栏由低到高排列，不代表固定左右手。无踏板、休止、反复、延音线或指定指法。
全局起点为0、4、8、12q，终点为16q；[a,b)包含a、不包含b。每个声部有4个音，共16个音符事件；每声部16q，不能把并发声部相加说成乐句持续64q。谱写终点也不是实测放键或余音消失时刻。
第2小节为D3、C4、F#4、A4，去掉音区并按根音三度叠置为D–F#–A–C：大三和弦D–F#–A加小七度C，所以符号是D7。第3小节G2、B3、G4、D5含G–B–D，G重复在不同音区。
重点只看两条线：V3的F#4到G4上行1半音，V2的C4到B3下行1半音。前者是局部目标G的导音趋向，后者是D7和弦七音的一种下行解决。这是本例选定的实际音符连接，不是所有属和弦必须照抄的唯一配法。
从D到F#按字母数是三度，键距为4半音；从D到C是小七度，向上为10半音。普通钢琴上F#与Gb可落在同一键，但把这里的F#写成Gb会改变音程拼写；同键不能代替和弦内的字母关系。
| 小节 | 符号 | 根音拼写 | 根音起半音 | 分析 | 最低音 |
|---|---|---|---|---|---|
| 1 | C | C–E–G | 0,4,7 | I | C3 |
| 2 | D7 | D–F#–A–C | 0,4,7,10 | V7/V | D3 |
| 3 | G | G–B–D | 0,4,7 | V | G2 |
| 4 | C | C–E–G | 0,4,7 | I | C3 |
| 声部 | 起音 | 目标 | 有符号半音 |
|---|---|---|---|
| V3 | F#4 | G4 | +1 |
| V2 | C4 | B3 | -1 |
副属关系不是新调的自动证明
在本例给定的C大调中，G是第V级和弦；D7是“G的属七和弦”，记作V7/V。读成“V的属七”，不是除法，也不是规定低音。整个分析为I—V7/V—V—I；D7的根音D和低音D3恰好相同，但功能分析与低音身份仍是不同问题。
副属和弦（也称次属和弦，secondary dominant）在这里指向主和弦以外的局部目标；临时把一个和弦当作主和弦来强调称为短暂主音化（tonicization）。本课只检查D7到G这一种关系，不声称每个外来音、每种属七形状或每个五度根音连接都具有同一功能。
调性是否真正转移，还要看后续和声、终止、乐句位置与持续的主音组织。本例预先给定C背景并回到C，适合练习局部主音化的分析；不能只凭一个F#或一个D7→G就证明转调，也没有“满几小节必转调”的固定门槛。
和弦符号中的D7/F#则表示D7和弦以F#为低音，与罗马数字V7/V的“目标”斜线含义不同。本例没有改用D7/F#；它仍以D3为最低音。先辨认符号所处的记法系统，再读斜线。
对照表中的Dm7、Dmaj7和G7改变的是和弦内容；它们不是D7的任意别名。F#单音本身也不够确定完整和弦或调性。不要把本页的D7替换成这些音组后仍宣称答案完全不变。
| 符号 | 音名 | 根音起半音 | 读法 |
|---|---|---|---|
| D7 | D–F#–A–C | 0,4,7,10 | 本例V7/V，目标G |
| Dm7 | D–F–A–C | 0,3,7,10 | C大调中的ii7；三音为F |
| Dmaj7 | D–F#–A–C# | 0,4,7,11 | 七音为C#，不是D7 |
| G7 | G–B–D–F | 0,4,7,10 | C大调的V7，通常指向C |
| F# | F# | 0 | 只有单音；和弦与调性未知 |
纸面任务与可选的单声部实琴任务
纸面路线：先圈出第2小节的F#，抄写D–F#–A–C并检查4、7、10半音，再连出F#4→G4与C4→B3两条线。只需能解释为何D7指向G、为何还不能仅据此判转调。无需唱歌、MIDI或麦克风，也不要求同时弹出四声部。
可选实琴路线先只用V3：G4、F#4、G4、E4，各占一小节4q。按键位表逐音找键，可先不计时；F#4是F4右侧的黑键，G4是它右侧白键，E4在中央C右侧第二个白键。不规定哪只手或指法，也不要求手保持跨越全表。
计时时选舒适且标明拍单位的速度；四分=60 BPM只是算例，1q=1秒、每小节4秒、全句16秒。单声部路线在边界放开前键并起下一个音，不加踏板；这描述练习意图，不把实际放键、声响重叠或身体适用性写成已测事实。不适时停下。
若F#4到G4不清楚，暂取第2到第3小节[4,12)作为8q窗口：局部0q仍是原第2小节，局部4q仍是原第3小节，不能改称全句开头。先核F#4/G4，再把第1和第4小节接回，保留原先4q一音的条件。
另一次可单独弹V2的E4、C4、B3、C4，每音4q；每小节独立起音，没有延音线。不要把V2与V3的分别练习称作已完成双声部演奏，也不要从只弹V3的结果推断自己已听见完整D7和弦。
| 音名 | MIDI编号（仅坐标） | 88键编号 |
|---|---|---|
| G2 | 43 | 23 |
| C3 | 48 | 28 |
| D3 | 50 | 30 |
| B3 | 59 | 39 |
| C4 | 60 | 40 |
| E4 | 64 | 44 |
| F#4 | 66 | 46 |
| G4 | 67 | 47 |
| A4 | 69 | 49 |
| C5 | 72 | 52 |
| D5 | 74 | 54 |
键号从A0=1起同时计黑白键；中央C4=40。表中MIDI编号只作可复算坐标，不要求MIDI设备。
记录、复测与来源边界
每次记录纸面或实琴路线、所用声部、速度及单位或“不计时”、提示、核对前预测、实际观察或“不确定”、一个下一步和回到全句的结果。空记录保持未知，不能默认为已通过；这里没有真实学习者观察。
隔天或另一个明确记录的延迟后，先不看答案再解释同一句的F#与目标G，然后记录实际间隔。这是熟悉材料的保留复测。迁移需要难度相近、事先未见未听未练的新材料；本页和对照表已公开答案，不能再充当盲测材料。
来源NC-028的既有93段ASR文字已读；174秒选帧显示“副屬和弦／次屬和弦”标题，205与212秒选帧分别显示C→G及C→D7→G。这里只核这些可见文字与和弦符号，没有听校原声、观看连续动作或审完源谱。
ASR第25—29段关于临时把Em作目标、以及第50—55段关于在目标前加入其属七的说法，只保留为未经听校的转写候选；第62—64段的D7→G候选与选帧可见符号分开记录，不宣称ASR和画面已精确对齐。
本课四声部音区、时值、半音核算、反例、纸面任务与记录均为本库原创综合，不是源课谱例抄本；转调边界与斜线记法区分也是本课的分析说明，未冒充已听校的原作者说法。未采用“所有插入都更好听”、情绪必然或学会保证。
音程与拼写 · 和声与配置 · 节奏 · 保留与迁移 · 来源范围 · 可复算数据
Meet F#: find the local target before judging the key
Start with a checkable question
Seeing F# in material framed in C major does not require reclassifying the whole piece as G major. First ask: which complete chord contains it, and which chord comes next? The original four-bar C–D7–G–C example supplies an answer that can be checked note by note.
Prerequisites are letter names, sharps, octaves and triads; use the interval and harmony links at the end if needed. The whole lesson works on paper. C4 is middle C, a numeral after a note name is its octave rather than fingering, and # raises that letter by a semitone.
Cover the chord-answer table first. Read bars 2 and 3 of the original note table and write: what are bar 2’s four notes without octave numbers? Which is outside the C-major diatonic collection? Which note in bar 3 is a semitone away from it? “Uncertain” is an acceptable prediction; reveal the answers afterward.
The C-major background is a stipulated teaching condition, not a key established from a recording. These tables are guided material with answers; correctness after reading them is not evidence of unseen sight-reading, successful audiation or actual performance.
Four original bars and two semitone lines
| 声部 / Voice | 1: [0,4) | 2: [4,8) | 3: [8,12) | 4: [12,16) |
|---|---|---|---|---|
| V1 | C3 | D3 | G2 | C3 |
| V2 | E4 | C4 | B3 | C4 |
| V3 | G4 | F#4 | G4 | E4 |
| V4 | C5 | A4 | D5 | G4 |
The meter is 4/4, with the quarter note as time unit q and 4q per bar. Each voice starts one whole note lasting 4q at each barline; the four voices run concurrently. V1 to V4 run from low to high in each column of this example and do not prescribe left/right hands. There is no pedal, rest, repeat, tie or assigned fingering.
Global starts are 0, 4, 8 and 12q, ending at 16q; [a,b) includes a and excludes b. There are four notes per voice and sixteen note events overall. Each voice lasts 16q; adding concurrent voices does not make the phrase last 64q. A notated endpoint is not a measured key release or disappearance of resonance.
Bar 2 contains D3, C4, F#4 and A4. Ignoring register and arranging thirds from the root gives D–F#–A–C: the D-major triad D–F#–A plus minor seventh C, hence D7. Bar 3 contains G2, B3, G4 and D5, giving G–B–D with G doubled in different registers.
Focus on two lines: V3 moves F#4 to G4 up one semitone, and V2 moves C4 to B3 down one semitone. The first is a leading-tone motion toward the local target G; the second is a downward resolution of D7’s chordal seventh. These are the note connections chosen for this example, not the only voicing every dominant must copy.
Counting letters from D to F# gives a third, spanning four semitones; D up to C is a minor seventh spanning ten semitones. F# and Gb can use the same key on an ordinary piano, but respelling this F# as Gb changes the written interval. A shared key does not replace the chord’s letter relationships.
| Bar | Symbol | Root-order spelling | Semitones from root | Analysis | Lowest pitch |
|---|---|---|---|---|---|
| 1 | C | C–E–G | 0,4,7 | I | C3 |
| 2 | D7 | D–F#–A–C | 0,4,7,10 | V7/V | D3 |
| 3 | G | G–B–D | 0,4,7 | V | G2 |
| 4 | C | C–E–G | 0,4,7 | I | C3 |
| Voice | From | To | Signed semitones |
|---|---|---|---|
| V3 | F#4 | G4 | +1 |
| V2 | C4 | B3 | -1 |
A secondary dominant does not automatically establish a new key
In this example’s stipulated C major, G is the V chord. D7 is the dominant seventh of G, written V7/V. Read this as “dominant seventh of V,” not division or a bass instruction. The analysis is I–V7/V–V–I. D7’s root D happens to match its bass D3, but harmonic function and bass identity remain different questions.
Here a secondary dominant points to a local target other than the main tonic. Briefly emphasizing a chord as a local tonic is called tonicization. This lesson checks only the D7-to-G relationship; it does not assign the same function to every chromatic note, dominant-seventh shape or fifth-related root motion.
Whether the key genuinely changes requires the subsequent harmony, cadences, phrase placement and sustained tonic organization. With its stipulated C background and return to C, this example supports practicing a local tonicization analysis. Neither one F# nor one D7→G proves modulation, and there is no fixed number of bars that automatically makes a modulation.
In a chord symbol, D7/F# instead specifies a D7 chord with F# in the bass, unlike the target relationship expressed by the Roman numeral V7/V. This example does not use D7/F#: D3 remains its lowest pitch. Identify the notation system before interpreting the slash.
The comparison table’s Dm7, Dmaj7 and G7 change the chord contents; they are not interchangeable names for D7. An isolated F# also cannot determine a complete chord or key. Replacing this page’s D7 with those collections does not preserve the full answer.
| Symbol | Notes | Semitones from root | Reading |
|---|---|---|---|
| D7 | D–F#–A–C | 0,4,7,10 | V7/V here, targeting G |
| Dm7 | D–F–A–C | 0,3,7,10 | ii7 in C major; third is F |
| Dmaj7 | D–F#–A–C# | 0,4,7,11 | Seventh is C#, unlike D7 |
| G7 | G–B–D–F | 0,4,7,10 | V7 of C major, normally targeting C |
| F# | F# | 0 | One note only; chord and key unknown |
Paper work and an optional single-voice piano route
Paper route: circle F# in bar 2, write D–F#–A–C and check 4, 7 and 10 semitones from D, then draw the F#4→G4 and C4→B3 lines. The goal is to explain why D7 points to G and why that alone cannot establish modulation. Singing, MIDI and a microphone are unnecessary, and simultaneous four-voice playing is not required.
For optional piano work, use V3 alone first: G4, F#4, G4, E4, each lasting one bar of 4q. Locate keys individually with the key table, initially without timing if needed. F#4 is the black key to the right of F4, G4 the white key immediately to its right, and E4 the second white key to the right of middle C. No hand or fingering is prescribed, and no stretch across the full table is required.
For timing, choose a comfortable tempo with its beat unit specified. Quarter note=60 BPM is only an arithmetic example: 1q=1 second, 4 seconds per bar and 16 seconds for the phrase. On the single-voice route, intend to release the preceding key and start the next at each boundary, without pedal. This is a practice intention, not a measured fact about release, sound overlap or physical suitability. Stop if uncomfortable.
If F#4-to-G4 is unclear, use bars 2–3, [4,12), as an 8q window: local 0q is still original bar 2 and local 4q still original bar 3, not the beginning of the full phrase. Check F#4/G4, then restore bars 1 and 4 with the original one-note-per-4q condition.
On another attempt, play V2 alone as E4, C4, B3, C4, each for 4q. Each bar starts a separate attack, without a tie. Practicing V2 and V3 separately does not establish successful two-voice performance, and playing V3 alone does not establish hearing the complete D7 chord.
| Pitch | MIDI number (coordinate only) | 88-key number |
|---|---|---|
| G2 | 43 | 23 |
| C3 | 48 | 28 |
| D3 | 50 | 30 |
| B3 | 59 | 39 |
| C4 | 60 | 40 |
| E4 | 64 | 44 |
| F#4 | 66 | 46 |
| G4 | 67 | 47 |
| A4 | 69 | 49 |
| C5 | 72 | 52 |
| D5 | 74 | 54 |
Key numbering counts black and white keys from A0=1; middle C4=40. MIDI numbers are recomputable coordinates and do not require a MIDI device.
Record, retest and source limits
Record the paper/piano route, selected voice, tempo and unit or “untimed,” cues, prediction before checking, actual observation or “uncertain,” one next step and the result after restoring the whole phrase. Blank entries remain unknown rather than defaulting to a pass; no real learner observations are supplied here.
After the next day or another recorded delay, explain this same phrase’s F# and target G before consulting the answers, then record the actual interval. This is retention testing on familiar material. Transfer requires comparably difficult material not previously seen, heard or practiced; this page and its answered comparison table cannot subsequently serve as blind material.
All 93 segments of the existing NC-028 ASR text were read. The selected 174-second still shows the Chinese secondary-dominant title; the 205- and 212-second stills show C→G and C→D7→G respectively. Only these visible words and chord symbols were checked, without source-audio audition, continuous-motion review or a complete source-score audit.
ASR segments 25–29 about temporarily targeting Em and segments 50–55 about placing its dominant seventh before a target remain unaudited transcript candidates. The D7→G candidate in segments 62–64 is recorded separately from the visible still symbols, without claiming verified ASR–frame alignment.
The four-voice registers, durations, semitone checks, counterexamples, paper tasks and record are original synthesis, not a transcription of the source score. The modulation boundary and slash-notation distinction are this lesson’s analysis, not statements passed off as audio-verified source claims. No claim that every insertion sounds better, mandatory emotional response or learning guarantee is adopted.
Intervals and spelling · Harmony and voicing · Rhythm · Retention and transfer · Source scope · Recomputable data